Early Theatre 9.2 Joanne Findon Napping in the Arbour in the Digby Mary Magdalene Play The turning point in the late medieval Digby Mary Magdalene play occurs when Mary Magdalene falls asleep in an arbour. This scene immediately follows her seduction in a tavern, and her words here indicate that she has given herself over to a life of sensuality. She has come to this arbour – a liminal space that partakes of both Nature and Culture – to await the arrival of one or more lovers. MARI: A, God be wyth my valentynys, My byrd swetyng, my lovys so dere! For þey be bote for a blossum of blysse! Me mervellyt sore þey be nat here, But I woll restyn in þis erbyre, Amons thes bamys precyus of prysse, Tyll som lovyr wol apere That me is wont to halse and kysse. [Her xal Mary lye doun and slepe in þe erbyre] (ll. 564-72)1 In her sleep, she hears the voice of an angel who repeats and recrafts her words, warning her “Ful bytterly thys blysse it wol be bowth!” (l. 589) and insisting that “Salue for þi sowle must be sowth” (l. 594) if she wishes to avoid eternal punishment. In repeating Mary’s word ‘blysse’, (l. 589) the angel highlights the price of unbridled sensual pleasure; his use of ‘bowth’ to echo Mary’s word ‘bote’ (l. 566) has a similar function. The angel’s ‘salue’ (l. 594) recalls the ‘bamys’ (l. 569) of the arbour which Mary sees as an appropriate setting for her encounter with her ‘valentynys’; yet of course these ‘bamys’ are intended for erotic attraction, while the ‘salue’ is for healing her soul of lust and pride. Of course, Mary’s slumber here is more than just a nap: it is the vehicle for a life-changing intervention from a realm beyond the everyday world. When she awakens, a deeply repentant Mary exclaims,“Alas, how betternesse in my hert doth abyde!/… A, how pynsynesse potyt me to oppresse,/ That I haue 35 36 Joanne Findon synnyd on euery syde!” (ll. 604, 606-7)) and resolves to seek Jesus, the ‘Prophett’ (l. 611), saying that Be þe oyle of mercy he xal me relyff. Wyth swete bawmys, I wyl sekyn hym þis syth, And sadly folow hys lordshep in eche degre. (ll. 612-14.) Here the ‘swete bawmys’ have been redeemed and transformed into the perfumed ointment with which she will soon anoint the feet of Jesus (l. 641). After this brief monologue (ll. 602-14) in which she assesses her past deeds and her present situation, she formulates a plan for her future.2 Mary Magdalene immediately leaves the arbour to find Jesus, the man who will replace her earthly lovers as her perfect, heavenly Bridegroom. Unlike her earthly ‘valen- tynys’, this heavenly bridegroom does not disappoint her through his absence; indeed, when she finds him in the house of Simon the Leper, her process of repentance is completed (ll. 641-704). As Theresa Coletti has noted, the language used here in the arbour anticipates the later hortulanus scene with the resurrected Jesus. 3 But this encounter with the angel who visits Mary in the liminal space of the arbour also recalls the visit of Lady Lechery to Magdalen Castle, the encounter which began the process of Mary’s temptation and downfall, and replaces it with one that begins her process of repentance and redemption. When watching this section of the play, the late medieval East Anglian audience would likely have heard powerful echoes of other garden scenes, many of which are to be found in medieval romances. It has become increasingly clear that medieval drama borrowed freely from many other genres. These certainly include saints’ lives and legends, and Coletti has ably demonstrated the significant influence of mystical texts and religious treatises on East Anglian drama.4 However, medieval dramatic texts also borrowed from more secular genres like romance, folk tales and fabliaux.5 Robert Hanning notes that a number of poets wrote texts that could be termed ‘religious romances’ and Andrea Hopkins, Susan Crane and others have discussed the religious tenor of a number of later medieval romances. 6 In short, the boundary between saints’ lives and romance was highly permeable, and the mixing of secular and religious discourse is, then, not surprising. Moreover, in the late middle ages, courtly love language and religious sym- bolism often merged in the depictions of female saints. As Hanning has noted, ‘It is no mere rhetorical affectation but rather perceived generic similarities that leads the author of another late medieval English mystical treatise, A Pistle of the Discrecioun of Stirings, to describe the soul’s journey toward inner Napping in the Arbour in the Digby Mary Magdalene Play 37 harmony as a type of metaphorical romance plot.’ 7 And as Helen Cooper has argued, the language of the Song of Songs, read as an allegory for the marriage relationship between Christ and the church, authorized ‘a language of mys- tical union in metaphors of the sexual; but it also authorized the expression of sexual union in metaphors of the mystical.’8 This reciprocity collapses the boundaries between ‘sacred’ and ‘secular’ categories, and the Digby Mary Magdalene play takes full advantage of the resulting ambiguities in its por- trayal of Mary as both saint and anti-romance-heroine. Thus, the Digby Mary Magdalene play is much more than a religious drama which presents Mary Magdalene as ‘the archetypal contemplative and mystical lover.’9 It is also a powerful fusion of romantic and spiritual adventure centred on a female protagonist who grows from dependency and naïveté to full-blown heroic stature.10 The romance connections would be all the more apparent to the audience in light of the Digby playwright’s numerous additions and alterations to Mary Magdalene’s legend. Many elements in the play appear either in different form or not at all in the religious literature about Mary Magdalene that served as his major sources. The author of the Digby play used three main sources: the New Testament accounts, which he often paraphrases closely in the first half of the play, and the outlines of Mary’s life and career as a missionary and hermit which appear in the Golden Legend and the South English Legendary. However, the playwright does not hesitate to expand his sources when he sees fit. For instance, although Mary Magdalene’s final years of fasting and contemplation in the wilderness are stressed in his sources, the playwright devotes comparatively little time to this episode. By contrast, he greatly enlarges on the Golden Legend’s account of Mary’s descent into an immoral life and makes it the focus of the first section of the play. Expanding on only a few sentences from the Golden Legend, our playwright creates the whole allegorical structure of the assault on Magdalen castle (clearly a symbol of the virtuous Soul) by the Seven Deadly Sins. He also adds Lady Lechery’s temptation of Mary, the tavern scene in which Mary falls for the ‘galaunt’ Curiosity, and her life-changing nap in the arbour. Interestingly, he does not dwell on Mary’s sinful life as some continental texts do;11 a mere eight lines of Mary’s speech suffice to sum up her new sensuality and her narcissistic focus on herself as a ‘blossum of blysse’ (l. 566). The playwright deploys allegorical figures from morality plays, such as the World, the Flesh and the Devil and their servants, to represent Mary Magdalene’s inner state during her temptation and fall. The playwright highlights Mary’s emotional life throughout, both through realistic scenes and through the allegorical figures 38 Joanne Findon who assault her soul, thus making her the subject of her own story. Indeed, her inner development is a fusion of the ‘crisis of inner awareness’ that medieval romance heroes undergo12 and the inner transformation typical in conversion stories. Intriguingly, the playwright’s main non-biblical sources, the Golden Legend and the South English Legendary, explain Mary Magdalene’s fall into sexual sin in ways that differ sharply from the play. In the South English Legendary, Mary’s fall is described as a reaction to her aborted wedding to the apostle John; this non-biblical legend recounts how Jesus called John to him when he was about to wed Mary, and how, out of anger and spite at being deprived of a husband, she gave herself over to prostitution.13 The Golden Legend version attributes her addiction to pleasure to her beauty and wealth.14 The author of the Digby play, however, astutely invents his own explanation: Mary is overwhelmed by grief for her father, who has died suddenly, and this grief leaves her vulnerable to the flattery of Lechery (who visits her at her home) and Curiosity, the attractive and smooth-talking young man in the tavern. The dramatist’s changes suggest the perception (famously elaborated by Freud) that a young woman deprived of a beloved father feels an over- whelming need to replace that father-figure with another man. Jacques Rossiaud’s discussion of French preachers Olivier Maillard and Michel Menot, and of playwright Jean Michel’s Le Mystère de la Passion, strongly suggests an evolution in fifteenth- century theories about prostitutes: ‘As all authors emphasize, the absence of a father is what lay behind such a life of abandon’.15 This factor raises the possibility that the Digby playwright was familiar with such continental portrayals of Mary Magdalene and borrowed this concept from them. The Digby playwright further departs from his sources in inventing a whole tavern scene to show us the mechanism of Mary’s temptation and fall.16 The scene is characterized – incongruously, but deliberately – by the anomaly of extravagant (and possibly even parodic) courtly love language spoken in a tavern.